Large-format LED walls, projection mapping, sound systems, and full technical support.
Exhibition stands and conference stages need LED sized to hall sight lines, speech-first audio against show-floor noise, and installation schedules aligned with the venue's load-in windows.
Plenary and ceremony setups at RICEC combine main-stage LED, conference audio and stage lighting — specified for both the room and the cameras when the programme is streamed or recorded.
Outdoor and evening formats in the entertainment district add weather, brightness and rigging considerations: higher-brightness LED, protected power distribution, and crew plans built around evening show times.
The weekly corporate calendar runs on well-specified compact packages — LED or projection, clean conference audio, stage lighting and an operator — sized to the actual room rather than a template.
We start from the furthest viewer, the content and the venue's real constraints, then specify. It is the difference between the right screen and the biggest one that fit the budget.
Systems come with the technicians who set up, operate and strike them. One team, one point of accountability — no gap between 'delivered' and 'working'.
When an event adds a stream or recording, screens and broadcast share one signal design — consistent resolutions, sane switching, and no two-vendor seam for the show to tear along.
Power capacity, rigging points and load-in routes constrain the design more than budget does — and they vary sharply between exhibition halls, ballrooms and outdoor sites. We settle them with the venue before promising a look.
Outdoor equipment in Riyadh needs shade, ventilation and realistic exposure windows for both gear and crew, with load-ins planned for the cooler hours. Indoor alternatives are part of any honest outdoor proposal.
Exact pixel maps, formats and a content deadline with a technical check — sent to content creators early — prevent the classic failure where the opening keynote is the first test of an export setting.